The largest exhibition on art from African perspectives held in Brazil is open at the Banco do Brasil Cultural Center in Belo Horizonte until December 30th. The show brings together 20 artists working with video art, photography, installations, music, performance, etc. across four themes: echos of history, bodies and portraits, urban drama, and musical explosions.
“Club Lagos” installation. Naijapop in HD, Nigerian music videos. Photo: Luísa Lombardi
The exhibition features 18 artists from eight different African countries and includes work by two Afro-Brazilian artists, Arjan Martins and Dalton Paula. Ex África brings together video art, photography, installations, music, performance, etc. across four themes: echos of history, bodies and portraits, urban drama, and musical explosions. In the center’s inner courtyard, the work Non Orientable Paradise Lost 1667, by Ghanaian artist Ibrahim Mahama, employs around 2000 wooden crates and various objects in reference to the daily routine of the shoeshiners who keep their work tools in these boxes.
Participating artists: Abdulrazaq Awofeso (Nigeria), Andrew Tshabangu (South Africa), Arjan Martins (Brazil), Bineide Hyrcan (Angola), Clube Lagos, Dalton Paula (Brazil), Guy Tillim (South Africa), Ibrahim Mahama (Ghana), Jelili Atiku (Nigeria), Karo Akpokiere (Nigeria), Kiluanji Kia Henda (Angola), Kudzanai Chiurai (Zimbabwe), Leonce Raphael Agbodjélou (Benin), Mikhael Subotzky (South Africa), Mohau Modisakeng (South Africa), Nástio Mosquito (Angola), Nididi Dike (Nigeria), Omar Victor Diop (Senegal), Youssef Limoud (Egypt), Patrick Waterhouse (UK).
Non Orientable Paradise Lost 1667, Ibrahim Mahama, Ghana, 2017.
A thousand men cannot build a city, Abdulrazaq Awofeso, Nigeria, 2017.
Alaagaba, Jelili Atiku, Nigeria, 2014/2017.
A Morrocan man, Omar Victor Diop, Senegal, 2014.
Lagos drawings, Karo Akpokiere, Nigeria, 2015-2017.
Untitled triptych-code noir, Leonce Raphael Agbodjelou, Benin.
Concrete affection, Kiluanji Kia Henda, Angola, 2014.
12 projections, from Windows, Ponte city, Mikhael Subotzky and Patrick Waterhouse, South Africa and Bath, 2008-2011.
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![(clockwise) Manyaku Mashilo, Passage to Prayer (detail), 2023. Credit: Hayden Phipps & Southern Guild Archives. Courtesy of the artist; Tatenda Chidora, Self isolation II, 2021. Ilford Gold fibre Pearl 290gsm, 102cm x 132cm. Courtesy of the artist; Anaïs Cheleux, Mas Maten, Guadeloupe, shot on digital camera, 2016. Courtesy of the artist; Glicéria Tupinambá, Manto tupinambá [Tupinambá Mantle], 2023. Courtesy of the artist. Foto: Glicéria Tupinambá; Elizabeth Catlett, African American, 2009, MUSEUM MMK FÜR MODERNE KUNST, © Elizabeth Catlett Family Trust / VG Bild-Kunst, Bonn 2023, photo: Axel Schneider.](https://contemporaryand.com/wp-content/uploads/2024/12/Bildschirmfoto-2024-12-19-um-21.08.13-320x200.png)
![(clockwise) Manyaku Mashilo, Passage to Prayer (detail), 2023. Credit: Hayden Phipps & Southern Guild Archives. Courtesy of the artist; Tatenda Chidora, Self isolation II, 2021. Ilford Gold fibre Pearl 290gsm, 102cm x 132cm. Courtesy of the artist; Anaïs Cheleux, Mas Maten, Guadeloupe, shot on digital camera, 2016. Courtesy of the artist; Glicéria Tupinambá, Manto tupinambá [Tupinambá Mantle], 2023. Courtesy of the artist. Foto: Glicéria Tupinambá; Elizabeth Catlett, African American, 2009, MUSEUM MMK FÜR MODERNE KUNST, © Elizabeth Catlett Family Trust / VG Bild-Kunst, Bonn 2023, photo: Axel Schneider.](https://contemporaryand.com/wp-content/uploads/2024/12/Bildschirmfoto-2024-12-19-um-21.08.13-480x300.png)
